Fabrice Knecht Tango DJ

Padrino pelao

Padrino pelao is a Tango written by Enrique Delfino and recorded by Carlos Gardel in 1930. The Tango Padrino pelao is written by Enrique Delfino, Carlos Gardel has recorded Padrino pelao with the singer Guit. Guillermo Barbieri, José María Aguilar, Ángel Domingo Riverol.
“Padrino Pelao,” which translates to “Bald Godfather,” evokes a vivid image of authority laced with vulnerability. The title suggests a figure who wields influence and respect, yet stands unadorned and exposed, stripped of superficial coverings. This tango sways with the dance of contradictions, where power meets humility, crafting a melody of life’s raw authenticity.

Tango

Style

Carlos Gardel

Orchestra

Guit. Guillermo Barbieri, José María Aguilar, Ángel Domingo Riverol

Singer

Julio Cantuarias

Author

Enrique Delfino

Composer

1930/8/28

Date

Guit. Guillermo Barbieri, José María Aguilar, Ángel Domingo Riverol
Guit. Guillermo Barbieri, José María Aguilar, Ángel Domingo Riverol
Carlos Gardel
Carlos Gardel

Discover Other Orchestras

Orquesta Símbolo Osmar Maderna – La huella – 1959/9/29
Orquesta Símbolo Osmar Maderna – Aquellas cartas – 1959/7/8
Orquesta Símbolo Osmar Maderna – Gardenias – 1959/8/18
Orquesta Símbolo Osmar Maderna – Merceditas – 1958/9/23
Orquesta Símbolo Osmar Maderna – Cadenas – 1959/11/23
Florindo Sassone – Soledad – 1959/10/8
Florindo Sassone – Aquella calesita – 1975/1/1
Florindo Sassone – Un violin en la noche – 1974/1/1
Florindo Sassone – La última copa – 1974/1/1
Florindo Sassone – Lluvia – 1974/1/1
Quinteto Don Pancho (Francisco Canaro) – Alfredo – 1937/8/4
Quinteto Don Pancho (Francisco Canaro) – Los indios – 1939/5/8
Quinteto Don Pancho (Francisco Canaro) – Yo también quiero cantar – 1940/5/23
Quinteto Don Pancho (Francisco Canaro) – Amelia – 1937/8/26
Quinteto Don Pancho (Francisco Canaro) – El 16 – 1938/12/13
Julio De Caro – Mala pata – 1936/3/13
Julio De Caro – Allá en el cielo – 1952/11/27
Julio De Caro – Mamá yo quiero casarme – 1940/1/1
Julio De Caro – Copacabana (Nido de amor) – 1927/9/12
Julio De Caro – Aromas – 1928/6/18

Recommended

These Tangos, Valses, and Milongas were recorded around the same time. Take a look to discover what else this orchestra—or others—may have recorded during the same week or even on the exact same day.

Padrino pelao recorded by other Orchestras

Padrino pelao recorded by other Orchestras

1930/8/28 – Mananita de campo – Carlos Gardel
1930/8/28 – Intimas – Carlos Gardel
1930/8/28 – No llore
viejita – Carlos Gardel
1930/8/28 – Titiriteros – Carlos Gardel
1930/9/3 – Chau Pinela – Carlos di Sarli
Padrino pelao – 1955/10/27 – Armando Pontier – Julio Sosa
Padrino pelao – 1930/8/28 – Carlos Gardel – Guit. Guillermo Barbieri
Jose Maria Aguilar
Angel Domingo Riverol
Padrino pelao – 1930/8/20 – Carlos Gardel – Guit. Guillermo Barbieri
Jose Maria Aguilar
Angel Domingo Riverol
Padrino pelao – 1930/3/24 – Francisco Canaro – Charlo

Lyrics Translation of the Tango Padrino pelao

This is the translation of the Tango “Padrino pelao” from Spanish to English. The English lyrics of the Tango “Padrino pelao” have been done with AI.

Letra del Tango Padrino pelao

¡Saraca, muchachos, dequera un casorio!

¡Uy Dio, qué de minas, ‘ta todo alfombrao!

Y aquellos pebetes, gorriones de barrio,

acuden gritando: ¡Padrino pelao!



El barrio alborotan con su algarabía;

allí, en la vereda, se ve entre el montón,

el rostro marchito de alguna pebeta

que ya para siempre perdió su ilusión.



Y así, por lo bajo,

las viejas del barrio

comentan la cosa

con admiración:



‘¿Ha visto, señora,

qué poca vergüenza?

¡Vestirse de blanco

después que pecó!’



Y un tano cabrero

rezonga en la puerta

porque a un cajetiya

manyó el estofao:



‘Aquí, en esta casa,

osté no me entra.

Me son dado coenta

que osté es un colao.’



¡Saraca, muchachos, gritemos más fuerte!

¡Uy Dio, qué amarrete! Ni un cobre ha tirao…

¡Qué bronca, muchachos! Se hizo el otario.

¡Gritemos, Pulguita! ¡Padrino pelao!



Y aquella pebeta que está en la vereda

contempla con pena a la novia al pasar.

Se llena de angustia su alma marchita

pensando que nunca tendrá el blanco ajuar.

English lyrics of the Tango "Padrino pelao"

Oh joy, guys, we’ve got ourselves a wedding!

Oh God, what a crowd of gals, the place is all decked out!

And those kids, little sparrows from the neighborhood,

come yelling: “Bald best man!”

The neighborhood is stirred up with their clamor;

there, on the sidewalk, amidst the crowd,

the withered face of a young girl can be seen,

who has forever lost her dream.

And so, softly,
the neighborhood’s old women
discuss the affair
with amazement:

‘Have you seen, ma’am,
such shamelessness?
Dressing in white
after she’s sinned!’

And an angry Italian
grumbles at the door
because he caught the glimpse of a trickster:

‘Here, in this house,
you shall not enter.
I’ve realized
that you’re a gatecrasher.’

Oh joy, guys, let’s shout louder!

Oh God, what a miser! Not a penny thrown…

What a fury, guys! He’s playing dumb.

Shout, Flea! “Bald best man!”

And that young girl standing on the sidewalk

watches the bride pass by with sorrow.

Her withered soul fills with anguish

thinking she’ll never have the white bridal attire.

Padrino pelao by Julio Cantuarias

Padrino pelao is a Tango written by Julio Cantuarias and composed by Enrique Delfino.



Story behind the Tango Padrino pelao

The lyrics of “Padrino pelao” offer a vivid narrative set in the bustle of a wedding in a neighborhood, surrounded by local children and gossiping elders watching the celebration unfold. The title “Padrino pelao” could translate to “Bald Godfather” in English, suggesting a prominent yet slightly comical figure at the event, possibly due to his lack of hair. The central theme revolves around community dynamics, the contrast between appearance and reality, and the poignant reflections of a young woman observing the ceremony from the periphery.



Symbolism of Padrino pelao

The tango uses strong symbolic elements to enhance its narrative. The “white dress” symbolizes purity and traditional values which is ironic given the neighborhood gossip about the bride’s past. The character of ‘la pebeta’—a young woman who has seemingly lost her chance for love—embodies lost dreams and the harsh judgment she faces from society. Her ‘withered soul’ painfully contrasts with the celebratory tone of the wedding, highlighting themes of despair amidst joy. The lyrics also mock materialism and hypocrisy, emphasizing the refusal of a “tano cabrero” (angry Italian) to enter because he hadn’t received a free meal, alluding to social opportunism.



Padrino pelao in historic Context

Recorded in 1930, “Padrino pelao” emerges during a vibrant era of Argentine tango. This period was marked by both the Great Depression’s onset, influencing themes of economic disparity and social change in tango lyrics. The setting likely reflects the everyday life and cultural milieu of Argentina’s lower-class neighborhoods, where tango was woven into the social fabric, serving as a form of expression and critique for the marginalized.



Julio Cantuarias

Julio Cantuarias was a tango lyricist and poet, known for his poignant and socially charged lyrics that often depicted the life and complexities of the common people in Argentina.